In the early Eighties a new trend began to appear as the public demonstrated growing interest in various aspects of everyday life which had until then been neglected, judging them worthy of attention as every particular modus vivendi reflects the intimate essence of a culture. Design became a separate discipline that fitted this orientation and created fertile ground for innovative research into ergonomics, logistics and architecture centring around furniture and all the objects which surround us every day in the home, with the goal of consciously organising our private and public living space. In this context, the chair above all was assigned new importance, whether viewed as a simple supporting structure or as a little symbolic throne: an object with which we are all constantly in contact. Its immediate proximity with man gives it a prominent role among furnishings and ensures that it is an essential cultural document in which every era finds its own typical, distinct form of expression.
In the early Eighties a new trend began to appear as the public demonstrated growing interest in various aspects of everyday life which had until then been neglected, judging them worthy of attention as every particular modus vivendi reflects the intimate essence of a culture. Design became a separate discipline that fitted this orientation and created fertile ground for innovative research into ergonomics, logistics and architecture centring around furniture and all the objects which surround us every day in the home, with the goal of consciously organising our private and public living space. In this context, the chair above all was assigned new importance, whether viewed as a simple supporting structure or as a little symbolic throne: an object with which we are all constantly in contact. Its immediate proximity with man gives it a prominent role among furnishings and ensures that it is an essential cultural document in which every era finds its own typical, distinct form of expression.